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        <h2 class="hilight">LAME - Mid/Side Stereo</h2>
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    <p>
        During years, what is called Joint-stereo has been misunderstood.<br/>
        Joint stereo in MP3 is a mechanism to selectively choose between three modes
        of storing stereo information. These three modes are <a href="#ms">Simple Stereo
        </a>, <a href="#mj">Mid-Side Stereo</a>, and <a href="#mi">Intensity-Stereo.</a>
    </p>
    <p>
        In <a name="ms">Simple Stereo</a>, the encoder analyzes the left and the right channels
        independently and stores the information as-is, without further checking the
        similarities in the signal<a href="#note1"><sup>1</sup></a>
    </p>
    <p>
        In <a name="mj">Mid-Side Stereo</a>, the encoder analyzes the left, right<a href="#note2"><sup>2
        </sup></a>, mid (l+r) and side (l-r) channels. It then gives more bits to the
        mid than the side channel (as usually the side channel is less complex) and then
        stores just the mid and side channels into the resulting MP3.<br/>
        This way, the mid channel can be encoded as if the frame was bigger, and as such
        have more quality with the same bitrate.<br/>
        Note: Mid/side in MP3 is switched frame-by-frame. In AAC, it can be switched
        band by band.
    </p>
    <p>
        <a name="mi">Intensity-Stereo</a> (not supported in LAME) uses a technique known as joint
        frequency encoding, which is based on the principle of sound localization.<br/>
        Human hearing is predominantly less acute at perceiving the direction of certain
        audio frequencies. By exploiting this 'limitation', intensity stereo coding can
        reduce the data rate of an audio stream with little or no perceived change in
        apparent quality.<br/>
        It works by merging the upper spectrum into just one channel (thus reducing
        overall differences between channels) and transmiting a little side information
        about how to pan certain frequency regions.<br/>
        This type of coding does not perfectly reconstruct the original audio because
        of the loss of information and can cause unwanted artifacts. However, for very
        low bitrates this tool usually provides a gain of perceived quality.
        <a href="#note3"><sup>3</sup></a>
    </p>
    <p>
        The LAME mid/side switching criterion, and mid/side masking thresholds are
        taken from <cite>Johnston and Ferreira, <u>Sum-Difference Stereo Transform
        Coding,</u> Proc. IEEE ICASSP (1992) p 569-571.</cite>
    </p>
    <p>
        The MPEG AAC standard claims to use mid/side encoding based on this paper.
    </p>
    <div id="notes">
        <ol>
            <li><a name="note1"></a>This is not the same than dual-mono. Dual-mono should be
                used where the left and right channels of the input file contain two different
                streams, where you should choose one (as in two different languages)
            </li>
            <li><a name="note2"></a>If one channel has much less noise masking in a certain
                band than the other, it could happen than the noise spread (by mid/side stereo)
                may no longer be masked for that channel. If both channels have the same
                masking, then the noise spread between both channels will be equally well masked.
                <br/>
                To prevent this from happening, there is an analysis done on the left and right
                channel to determine the noise masking thresholds and properly mask the noise.
            </li>
            <li><a name="note3"></a>Quote from wikipedia <a
                href="http://en.wikipedia.org/wiki/Joint_stereo">Joint_stereo</a>.</li>
        </ol>
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